Name: Fidelio
Start: 2014-12-10T00:00:00.000Z
End: 2014-12-23T00:00:00.000Z
Location: Teatro alla Scala

Admin

Organization

Bass

Peter Mattei

Don Fernando

Baritone

Falk Struckmann

Don Pizzaro

Tenor

Klaus Florian Vogt

Florestan

Soprano

Anja Kampe

Leonore

Kwangchul Youn

Rocco

Mojca Erdmann

Marzelline

Florian Hoffmann

Jaquino

Conductor

Daniel Barenboim

Stage director

Deborah Warner

Set designer

Chloe Obolensky

Costume designer

Lighting designer

Jean Kalman

Chorus master

Bruno Casoni

Teatro alla Scala

Others

Coro del Teatro alla Scala

Orchestra

Orchestra del Teatro alla Scala

germană

Fidelio

Milan

Italy

Beethoven’s only opera receives a reinvigorating modern update by visionary stage director Deborah Warner at Milan’s storied La Scala! The story of wrongly imprisoned Florestan and his wife Leonore’s heroic rescue mission, during which she disguises herself as the titular Fidelio, is ultimately representative of the triumph of freedom and humanity over venality and oppression. The glorious score is impeccably conducted by Daniel Barenboim, in his last production as La Scala’s musical director.

In Warner’s “sharp and relevant” envisioning of the action, full of “sublime” stagework and music (Bachtrack), Anja Kampe provides a “splendidly acted journey of discovery” in the title role, enhanced even further by bass Kwangchul Youn’s uncommon depth as jailer Rocco, Klaus Florian Vogt’s assured turn as Florestan, and a flawless supporting cast.

Fidelio Beethoven

Public

italiană

Approved

Per vedere il cambio di scena vai a 1:57:34
Per applausi e interviste finali vai a 3:28:40

Fidelio LIVE Backstage. Opening Night of the 2014/2015 Season at Teatro alla Scala.

For the change of set go to 1:57:34
For curtain calls and interviews go to 3:28:40

A tribute to marriage coming from a bachelor is a tad suspicious. But for Beethoven the idealization of the woman-bride was heartfelt and sincere. It has always been a unique opera starring a courageous wife who wows audiences. Fidelio is a moral title, associated with the ideals of liberty of the French Enlightenment. Nobility and commoners are united in their thirst for justice against the oppression of power. For once the faithful consort of a desaparecido wins her battle against a treacherous tyrant, and the collective joy truly is “nameless”, as is sung on the stage. Especially because the “our heroes to the rescue” finale is recounted by the triumphant symphonic flair of the quintessential musician. Beethoven really does bring the world to collapse at the conclusion of this opera, which begins like a delightful little comedy, but which scales and transcends all the summits of the dramatic-musical art. Daniel Barenboim has spent a lifetime examining every note of Beethoven and his maturity unquestionably holds some thrilling and touching surprises in store for us. Great anticipation for the choices of the very sophisticated English director Deborah Warner, who charmed audiences a few years ago with a gorgeous production of Britten’s Death in Venice. And the lyrical difficulty of the masterpiece has been overcome, with a cast of eminent names from international lyric opera.

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